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I Rap and Go Home is a genius concept. It’s what most rappers do. Spend a decade-plus interviewing MCs from all walks of life, and one quickly finds that life onstage and on the road is nowhere near as glamorous as it seems. Save for the few at the top of the pyramid, underneath that rare air is a host of MCs who were once there, so close but never made it, and those who have no shot at making it but haven’t realized it yet.

Fortunately for Craig G, he’s one that’s been to the top of the pyramid thanks to many seminal moments in hip-hop, from dropping “The Symphony” as part of the legendary Juice Crew to battling the freestyle champ Supernatural live with no theatrics. In between those moments and after, Craig G has embodied the spirit of hip-hop, crafting quality songs on his own terms and representing the principles that hip-hop has and should stand for at all levels.

In this exclusive interview, the Queensbridge product talks about his journey over the years, why he raps and goes home now, what it’s like to enjoy his passion on his own terms, his new project with Nottz, and the long-awaited Juice Crew reunion.

I’m definitely feeling the new album, I Rap and Go Home. If you look at your last album title, Ramblings of an Angry Old Man, it seems as though you have a sense of humor with how you present yourself.(more…)

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Psycho Les and The Beatnuts have been noticeably absent as of late. Without new music, fans have been forced to keep their classic anthems on repeat, which is never a bad thing. But new music from Psycho Les is a huge deal and hopefully the start of much more – a new Beatnuts album, the long-awaited Liknuts collab album with Tha Liks, and more. Running his label, Pit Fight Records, Psycho Les is much more in control of his artistic destiny than he’s ever been in the past, and that freedom is looking and sounding pretty damn good.

Dropping Dank God Volume One, with a slew of heavyweight features including R.A. the Rugged Man, The Lox, and more, Psycho Les stays in the pocket, right where he should be, dropping his classic sample-driven, dirty beats that are more New York than the stains on a concrete subway platform. In this exclusive interview, Psycho Les talks about crafting the album, why there’s more in the clip, why digging should be more appreciated, his record collection, and much more.

I was surprised to see you had a new album dropping, and once it dropped, it’s stayed in rotation. What’s it been like getting Dank God Volume One ready and how’s it doing for you?

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“Get It” is a two word, beat driven call to action. Written to inspire you to live your dream, written by a man who is pursuing his own. Solow Redline is as real as it gets, hailing from Chicago’s community of street performers. If anyone can tell us about starting from the bottom, its this guy. Produced by Guitarboy(R KELLY, Trey Songs) in conjunction with Slang MusicGroup, this one moves speakers and gets in your head.

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Being an architect of one of the most revered eras in hip-hop comes with a price. Not only is every move scrutinized and every progressive step analyzed to ensure its hip-hopness, but one is expected to speak for an entire generation, and sometimes, the entire landscape of hip-hop. For Showbiz of the legendary Diggin’ in the Crates crew, that burden is never too much to bear. The producer behind classics like “Sound of da Police” and “Soul Clap” while proclaiming the greatness of “Panda” doesn’t feel any pressure, and that’s because he can stand behind what he’s done and knows where he’s going. Whether it’s helping put together his team’s BPM web series or executive-producing the new D.I.T.C. project Studios or O.C.’s upcoming album Same Moon, Same Sun, one can rest easy knowing Show is doing any and everything except mailing it in. In this exclusive interview, Showbiz talks about his role on the new Studios album, how he’s grown as a producer, his production techniques, and much more.

It’s been a long time coming, but the new Diggin’ in the Crates album, Studios, is here. What are your thoughts on how Studios came out?

I executive produced the album, so of course I’m very satisfied with the outcome. It took me a couple of months to put it together and I’m happy with the way it came out it did. I’m very excited about it and we’ve been getting very good reviews on it.

When you look at executive producing an album like this, do you feel any pressure, especially with how long fans have been asking for a new Diggin’ in the Crates project?